Buying a piece of art has long been considered an investment, of time as well as money, requiring visits to galleries and trips to auction houses.

But technology is changing the way we interact with, buy, and sell art. And artists are adapting their creative processes to suit a changing landscape.

“There’s never been a better time to be an artist in the world,” says Ashley Longshore.

The US artist’s paintings can be found hanging in the homes of Hollywood celebrities such as Salma Hayek, Penelope Cruz and Blake Lively.

“Art school teaches you that galleries are where you have to be. Galleries told me that I would never make it so I started to think; how could I build my own empire?” she says.

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Ashley started using social media – Facebook, Instagram and others – to showcase her art and attract new buyers. Selling direct cuts out the middleman and puts artists back in control, she says.

Image copyrightASHLEY LONGMORE

Image caption
Ms Longmore says her dream “is a world full of wealthy artists”

“When you buy through a gallery you’re investing 50% in the middle man – it screws up the pricing of art. I want artists to see themselves as entrepreneurs – ‘artpreneurs’ – who have control over what they’re putting out,” she says.

It’s a strategy that has worked well. She has sold multiple works online, including one for $50,000 (£35,000). Paying subscribers get access to limited-edition works as well.

Online art sales are growing worldwide. Online sales reached an estimated $3.75bn in 2016, up 15% from 2015. This represents an 8.4% share of the overall art market, up from 7.4% the year before, according to the 2017 report on the online art market from insurers Hiscox.

In contrast, global auction sales fell 19% over the same period.

Iain Barratt, owner of the Catto Gallery in London, recognises that an online presence is important, but is sceptical that social media is the answer to increased sales.

“A lot of social media is just noise. Our artists are on Instagram but they’re followed by other artists most of the time, not clients,” he says.

“We’ve had a few indirect sales on social media, but nothing to speak of really.”

“Social media is an amazing platform for so many,” she says, “but you have to beware because you’re one of thousands and thousands.

“Things lose their value on social media and become very throwaway, so it’s hard to stand out.”

At a gallery exhibition customers can see the work that’s gone in to a painting up close, she says.

“It gives it a sense of importance… it’s a whole experience, it changes the value of the work.”

To artists who say online platforms are the future, Catto Gallery’s Iain Barratt has a rather bleak response: “Good luck to you. Where will you be in 30 years time? We’ve had a 20-year relationship with some of our artists here.”

But from her studio in California, Ashley Longshore has little time for that sort of opinion.

“With a gallery you never know who your clients are. I’m creating something tangible – I’m a business person, I want to create money from it. Why wouldn’t I use every single avenue I can?

“My dream is a world full of wealthy artists.”

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